Drawing
What is drawing? What can drawing be used for? Why make drawings? How do you teach drawing? Why do I draw?
For the last thirty years I have been involved with teaching drawing, as well as a continued practice of making drawings, whether in my personal practice as an artist or as a teaching tool. Since the completion of my MA, way back in 1990, I have made daily drawing as part of my routine, broken only by periods of driving to work, and writing. My first book was published last year on drawing and painting the nude, and my current book is on drawing and painting landscape.
I have taught in FE full time since then, but have just ventured into HE over the last year as the visual research coordinator at University of Brighton. It’s here where I have become a member of the drawing research group (DRIG)and It’s in the capacity as a lecturer obsessed by drawing in its many guises, and as a practitioner that I wanted to discuss some of the above themes.
So what is drawing? Early on at UoB I gave a presentation to the DRIG group about some of my approaches to drawing. I entitled the lecture drawing an expanded field as I felt that drawing on an art and design foundation course was indeed just that, it needed to address many different and divergent things.
In my new role, I have begun to understand more fully the subtle differences between drawing across fashion, fashion communications and textiles.
I think drawing can be located within a series of broad headings and I have drawn up a list which I hope will provide a starting point for further discussion in this essay.
Observational drawing, what are you looking at?
Experimental drawing, what, why, how
- New media
- Investigation
Communicating through drawing
- Signs
- Diagrams
- Systems of drawing
Research
Expression
Play
Object
These terms are of course debatable and indeed may cross over in terms if definition. By clarifying these perhaps some further insight or questioning might arise.
What are you looking at?
Certainty within the art school tradition I grew up in, this formed a significant part of my early training and in turn gave me a model of teaching that I used in the first two or three years of teaching in FE.
The notion of draw what you see is a complicated one.
We may take for granted the ability to use our eyes, but we seldom do we consider how difficult a process seeing is.
Each eye sees two slightly different views of the same view. The images appear at the back of the retina inverted and through a layer of blood vessels. The light sensitive cells deal either with colour (the cones) or light and dark (the rods), converting this information into electronic signals which are sent to different parts of the brain. The left eye sends information to the right hemisphere of the brain and the right eye to the left. Each hemisphere has its own visual cortex, which translates the visual information into our understanding of what we are looking at. Did you know that you have a blind spot in each eye and that the brain, rather like the cloning tool in photoshop, cover this up?
Reading Oliver Sachs “the man who mistook his wife for a hat”[1] reveals many of the ways in which sight and brain do not always work together: someone who failed to see the left hand side of things. In phantoms, a patient wakes in hospital to discover that someone has left a dead leg in his bed, distressed as to why would someone do this, he throws it out, to discover the limb is attached to him. In this instance the patient failed to see the limb as belonging to him, although must have clearly seen the limb. Another patient could not recognise things at all, Sachs himself suffered from prosopagnosia, a condition where one cannot recognise the difference between peoples faces, a fate also shared with Chuck Close[2]. Interesting then that Close, unable to recognise the person, sees the face as a landscape, a series of interconnecting shapes and colours. To help him map this landscape he uses a grid, to locate square by square the position of this shape in space, which subsequently makes him able to accurately record likeness.
So the notion of observational drawing is really a process of training the eye, brain and hand to work as one, to attempt to limit the distance between these things. Various strategies are employed to do this. Whether it’s the classic notion of blind drawing, slowing down the eye and hand to notice and record the many subtle changes and imperfections of the subject, or partial peek to utilise the strength of observation whilst also ensuring that the lines meet up. Or measured drawing, taking visual measurements in space from a fixed vantage point and translating that to a flat surface, whether sight sized or proportional, these devices often attempt to objectify the subject allowing it to be seen as a series of interconnecting shapes, aligning features across the whole by considering how the small fits into the large. These are all standard modes of approach, long tested and explored. In Nicholas Beer’s Sight size poraiture[3] and Juliette Astrides, Lesson in classical drawing[4], the sight size atelelier method is discussed which works at some distance from the model and the drawing, with comparisons between the two being made some 12 feet away. In this instance the drawing becomes the same size as the referent (model, bust still life etc). A mirror is also utilised as a tool for inverting both to enable each to be seen with fresh eyes.
So it becomes interesting when one begins to challenge the notion of observed measured drawing. What exactly is being observed? Is the focus on outline or structure or form or contour? Reuben Margolin[5] discusses his experience of drawing in a Russian Academy, having spent the previous year at the George Cecil school in Florence. His Russian tutor, via a translator, addressed a simple question, you are drawing only what you see? So there is a profound set of alternative interpretations of observed drawing depending largely on what exactly is being addressed in the drawing. Within that context, it is also brings to bear the fundamental question of drawing from three dimensions or drawing from two. If the subject matter of the drawing is a two-dimensional image (iPhone, tablet, desktop photograph) how much information can actually be seen? Many students work from this limited meaning that their visual research is immediately reduced in terms of its potential[6].
The more one draws from direct three-dimensional experience, the more one knows what is missing from a two-dimensional source. Whilst there is validity in working from such source material there has to be a discussion about how one gathers photographic research to help inform the development of ideas rather than limit them. Things bring in notion of point of view, exposure, bracketing as well as the manipulation of digital images post shoot.
There might also be a question about the nature of the referent. Is the subject of a drawing and naked human figure, a still life, a landscape, a built environment or indeed and installation of objects and materials?
Within an art and design context, different pathways might require a different type of subject matter, whether it be costume, fashion, textiles, illustration, graphic design or fine art. In that way, students begin to recognize the validity of the process and see the relevance to their practice. In this way observational drawing serves the function of informing their work rather than acting as an isolated activity separate from the studio. Increasingly students seem to have a fast food approach to their studies, the grab and go mentality, of needing only the small amount of information to take away and make work with quick fix ideas. Observational drawing requires time and also the ability to slow down and reflect. These softer skills are worthy of attention, used to evaluate and action plan. However observational drawing can be taught as a set of skills acquired and students can see that within a few drawings their own improvement, in terms of their understanding and ability and this can be a tremendous boost the confidence.
Perhaps the frightening thing about observational drawing is that there is a direct comparison between the drawing and the object being represented, does this look like this? Within the context of signs there is more space, could this be conveyed like this?
Drawing can often be discussed in terms of language. Different languages can be used to convey or describe different aspects of the same motif, or be used to explore different ideas.
A linear drawing may only record shape and imply structure. A tonal drawing may adequately record mass and form, a mark making drawing mate find ways of describing texture and surface.
Going back to the notion of subject might also suggest the notion of media and material.A linear drawing my only record shape and imply structure. a tonal drawing may adequately record mass and form a Mark making drawing mate find ways of describing texture and surface.
So the question is what is being drawn?
At the age of about 13 I was taught technical drawing at school this entailed the use of: a drawing board, set squares, T squares and very hard pencils, but within those sessions we learnt about ways of recording the structure of an object. Using a series of drawing systems: first angle, third angle, axonometric, isometric and oblique projections, these were all drawing conventions that have been created to enable engineers to make precision objects. My father built model steam trains and worked from such plans, drawings which told him how to machine a piece of metal to exacting specifications, to make it perform a function. The most interesting thing about drawing systems is there bear little relationship to the observed world, yet they are completely and holy functional. Perspective equally works in a similar way, whilst it mimics some of our observed experience it also has a language quite its own. Symbols become sophisticated signs for ideas and one of the most basic forms of Visual Communication along with maps, diagrams. Interrogation of these and the idea of thinking and communication drawing are certainly worthy of pursuit. Graphic designers and illustrators need to be conversant with these but so too fashion students who use coded drawings in their portfolios. Logos can also but a way of distilling meaning. Like the early Bauhaus and other formalist design teaching[7], the investigation of basic shapes, line (straight or curved) circle, square, triangle, can yield exciting possibilities when pushed, developed combined, overlapped and extracted. At UoB there has been a drawing thread that has investigated the use of drawing in medicine and the way in which drawing is used as a communication tool between doctor and patient. How many other professions use diagrams, maps or symbols in their daily lives without really questioning their origins. At this point it might be worth considering the notion of semiotics and the meaning and interpretation of signs. What are the tropes that are being used? Do signs communicate universally? Do we have a universal language or are these culturally fixed?When I was at secondary school, our mathematics classes involved theorems, visual problem solving through drawing, the marriage of intellect and visual beauty. I still have fond memories of these diagrams and with an awakening of my interest in systems, geometry, the golden section and composition, the universal language of mathematics andSo whilst observational drawing deals with of conventions that relay information about perceived experience, signs symbols and diagrams may also convey information too, but may also requires a different set of spectacles to view and review them. If drawing has asked questions about the nature of subject, then it should also question the notion of function. What is the drawing for? Is drawing demonstrating the acquisition of skill or technique, is it about understanding form, structure, mass,weight, dynamics, space or is it about communicating ideas? Is it using a set of tropes to facilitatethis or inventing a new language to investigate this?
Indeed it is easy to look at drawing in terms of media and to explore the inherent qualities of each. Drawings in charcoal, oil bar, biro, brush and ink have different characteristics. Whether these are to do with opacity, transparency, texture, colour viscosity, fluidity or mark making and the tool used to apply them to the support, which in turn effects how the medium behaves (ink on dry paper is different to wet paper).
Experimental drawing[8] which investigates media in these terms have a real value in establishing a vocabulary of material and mark. Understanding how to hold an implement, what a material can do, what combines with what, free from the constraints of representation offer more than some sketchbook pages or worksheets.
When I taught on the old NDD course we would spend about 5 weeks investigating marks and media, but we would also encourage students to use an object to inspire and encourage visual invention. An object held in the hand and drawn with one’s eyes shut, feeling the textures and contours of form and surface variation offers the student fresh outcomes and insights. A similar insight can be gained by encouraging students to draw music, in charcoal.
Within some contexts, drawing is the primary mechanism of gathering visual information from a source. Within this there becomes a consideration if economy, what needs to be drawn, what is the most effective way of extracting this information from the source? In this way one is not aiming for simulation or recreation, but instead analysis, synthesis and extraction, pulling apart the subject and refining it to its essence.Sarah Midda’s sketchbook from southern France[9], and Caroline Maunduit’s an architect in Italy[10] shows this rather elegantly, in Midda’s case only recording the colour of objects of Maundits plans. This becomes an evaluative act, looking through the multitude of possibilities and deciding on an approach.What do I need from this source to help inform my work? Any research trip presents itself with challenges and none more complex than working on location in the landscape.As a Landscape artist, one might wish to capture the view. This may require a day painting, but within that time you will the landscape changes constantly. The sun moves across the sky, clouds cast shadows which change the colours in the landscape. Weather can mutate from bright sunshine to downpour in a matter of moments. One can get sunburnt, or soaked in minutes so consideration has to be given to these things in order to get the most from it.Being prepared is the name of the game, a plastic sheet to sit on, suncream, sunglasses (as the glare from white paper can damage ones eyes) a hat, these are practical considerations. How is one getting to the location, is the student taking the coach, bus, driving or cycling up? What about lunch, drink, (is there is a pub which sells food? If it rains, do you have rain proofs and if it is really hot do you wear layers? If it rains you can put your sketchbook in a large clear plastic bag so that you can continue drawing, storm clouds can be particularly dramatic to draw. What tool kit are you taking? Think weight but also range of media. A students task is to capture as much visual information as you can as economically as you can. Coloured media, colour pencils, pastels, oil bar, pro markers, linear media, pencil, biro, felt tip, fine line pen, stick and ink, wet media,inks gouache watercolours, acrylic, water, kitchen paper.Are they going to use collage, painting up paper beforehand, greens, greys, browns, blues, and a range of tints, tones, shades. Are they going to draw on coloured paper, will you paint these up before hand or stick coloured paper (perhaps using some of your collage paper) into your sketchbook as a ground.Are you going to take extra paper, if so a drawing board and some bull dog clips or masking tape is useful to stop your paper blowing around. Would it be useful to prepare in advance a series of paper layers stuck to a light weight board before you go do that when you make your first drawing you can take it off and an new sheet is waiting for you. In this instance before the drawing actually begins the student has to problem solve, evaluate and satisfactory approach to the number of challenges presented.
Some strategies.
Sight-seeing on a research trips usually means that time is wasted. It is better to choose a place to work and get as much from it as possible before moving on. Setting time limits also helps as it is better to make lots of quick studies rather than one long one. What about timed drawings: 30 second, 1 minute, 5 minute, 10 minute studies. Setting the alarm on your phone to give you this energy and pace.What are you interested in when you get there: colour, texture, pattern, rhythm, shape, space, light, atmosphere, drama? How do you draw those things? If you are interested in the colour, should you be drawing the landscape or just focusing on just the colour, trying to capture the exact colour you see. You failed experiments might give you other colour idea later on? How would you express the rhythm of the landscape, its movement? Wet media will yield different results to dry. Try both. Through the investigation of landscape, your visual research will end up becoming diverse but will also inform your work We have learnt and number of strategies in visual research, blind drawing, partial peak, gesture, tonal,wrong handed, negative space, summarising the figure in five brush marks, how would you summarise the landscape in five marks?
It is better to counterpoint this with longer studies. Maybe spend 1 hour on short duration drawing and then 1 hour on longer studies, 3 x 20 minutes, 2 x 30 minutes.
When working in your sketchbook page with wet media don’t wait for the page to dry, instead work on a separate sheet of paper, so as your sketchbook dries you can continue to work.
The landscape is vast,sometimes it is easier to deal with a small part of it, cut out some viewfinders at a thin card in different proportions, 1:2 1:3 1:4 and look through this so that only a small fragment of the landscape appears.
Most students misperceive the scale of the landscape seeing it too big. You need to be Drawing much smaller and you would normally to capture all of that space. The five pen rule is useful here to help you scale.
Landscape can offers many different views, long vistas, deep valleys, woodland, rolling hills, all within a few metres. If you are bored consider why and try to think of the landscape as a flat pattern. The physical effect of the landscape can be used as a catalyst too, the cold can cause more activity to keep you warm, the rain will effect your support and how the media behaves.
You might want to record more than drawing, you might write descriptions of the colour, use adjectives to describe the qualities of the space, use recordings and even take photographs. If you do remember exposure issues. Photograph the same view twice, with the camera pointing at the sky and then the land, or if you phone has an HDR setting use that to ensure that you have information from both to use.
Photograph can be manipulated later using phone apps or photoshop to develop more ideas. Drawings can be reworked and developed from. You can then use your knowledge from the colour workshop to push ideas further.
Drawings can be photocopied onto acetate and layered together, the paint bucket tool used to fill shapes in blind and partial peak drawings.
Otherworlds and the loss of self
Drawing has long been used as a cathartic activity. It is established knowledge that certain kinds of drawing switches off the negative thoughts and associations that can come from OCD and depression. The recent rise of the adult colouring in books are testament to the popularity of switching off, mindfulness, losing conscious thought and entering that other place.As artists, I have often thought about the childhood act of play, where you enter into this magical world, act out fantasies, dialogue, noises, actions and disappear into characters. I became my action men, my heroes battling with some dangerous foe. But there was certainly a moment when that stopped,you could no longer inhabit that place. I have seen it in my children too, their games which seemed to last for days, the Barbie and Bratz doll bonanza’s.Yet when I start a painting I go into this imaginary world reenter this fictive space and lose my sense of self. As children can we coloured in, as adults we continue to do the same with smaller shapes to fill and a broader range of highly pigmented felt tip pens. The brain switches off to the problems and concerns and focuses absolutely on the minute detail and colour. When Betty Edwards talks about using the right hemisphere of the brain in her book drawing on the right side of the brain, she talks about a mode of thinking that is beyond the use of language. This is where the brain switches off to a conscious state, unaware of time and instead loses its self in the activityOf course anybody that has made observations drawings will have experienced this mode of thinking where one loses oneself to the subject being drawn. In much the same way I often find myself doodling diagrams and abstract formalist structures in the margains of meeting minutes. These become littered with magical creations, the longer and more arduous the meeting. One of my former colleagues would often photocopy these doodles and enlarge them, placing them into his sketchbooks as starting points for his ceramic vessels. This act of switching off allows the subconscious brain to work creatively allowing new ideas to comes through the page. Within a creative context a hand held lightly over the sketchbook page whilst travelling on a train on car, will cause the arms and move involuntarily. The rhythm and movement of the train create a pattern of marks which can be gently meandered across the sketchbook page to the point where the configuration of marks begins to evoke ideas, forms, structures or patterns according to the needs of the artist or the designer. Listening to music with one eyes closed, making marks in responses to the rhythms and structures of sound can also produce exciting abstract marks which in turn evoke potential starting points for the development of further outcomes. The use of technology too can play a right vital role in creativity. The introduction of glitches, fragmenting the pictorial image through distortion or using low resolution may allows the subconscious mind too create and invent. Drawing is rich and diverse and impacts not just within an art School, fine art curriculum. Drawing touches many different areas of specialism not just within the Arts. It is vitally important that young students understand some of those basic approaches to drawing to realise much more fulsomely, that there is not just one right way of drawing but many. I’ve sometimes referred to the idea of crisp packet evaluation. What is your favourite packets of crisps and why is that so? Many students for have different choices different reasons why Walkers or Sainsbury’s own are preferable to other brands whilst they are all the same thing there are subtle differences between each and ultimately it is personal choice that makes the decisionit is only by eating a number of different types of crisps can a student be true Leith informed as to their preferred Brand and so to withdrawing only through investigating and exploring so many rich and diverse approaches to draw a to see their validity in terms of context and use while a student gain a clear understanding of how drawing is used to inform their practiceincreasing me in my experiences with in FA I’m seeing many students coming through the door with little or no experience of drawing and even HD I’m seeing students frightened to make a mark on paperthis is something that absolutely needs addressing not just because of its limiting element on art and design courses where there is now little scope for the teaching of these basic skills but much more so it in censors one’s life skillsold Victorian ladies were taught to draw anyone can be taught to draw it enables you to see the world the greater clarity and precision and gives you the confidence to make your mark upon it.
[1] 1985
[2] A point which became clear in the BBC imagine programme The man who forgot how to read and other stories 2011
[3] Sight-Size Portraiture The Crowood Press Ltd (13 Oct. 2010) ISBN-13: 978-1847971821
[4] Lesson in classical drawing Juliette Astrides [4], ISBN-10: 082300659X
[5] https://www.ted.com/talks/reuben_margolin_sculpting_waves_in_wood_and_time?language
[6] iPhone apps inevitably transform the image that is being photographed reducing tones transforming colours flattening out the image
[7] Johannes Itten Design and Form 1964
[8] See Experimental Drawing, Robert Kauplelis
[9] ISBN-10: 9780894807633
[10] ISBN-10: 0517569809